The light-filled unique and eco-friendly home designed by Nico van der Meulen Architects is situated in Inanda, with views of the Sandton skyline to the north.

The stand is 1511 sq.m. and the house faces 15° east of north.

Upon approaching the home the first view is of the cantilevered porte cochere screen of suspended steel tubes with double sliding garage doors clad in dark limestone to blend with the wall. A steel sculpture by Regardt van der Meulen twirls on a podium next to the front door built of privacy glass.

Upon entering the transparency of the house becomes evident with views out over the multi-level hall, lounge, spa and pool to the water feature and the garden beyond, as well as over the double volume family room, dining room, lanai and kitchen. The whole of the living/kitchen/ breakfast area opens totally through the use of frameless concertina doors to the lanai and garden.

Although the spa, pool and water feature are three separate bodies of water, the effect created was that it is one interconnected system flowing into each other.

Sliding glass panels hide the bar and kitchen when not in use, creating a more intimate setting, while a skylight lit catwalk between the main suite and guest bedrooms allows views of the living spaces and garden through the brise soleil on the north side. On the catwalk a study, pyjama lounge and kitchenette are hidden behind sliding wooden panels. The study and pyjama lounge leads onto an expansive private balcony.

The LED illuminated polished concrete and wood staircase cantilevers out of the wall with vertical steel bars acting as balustrades and supports at the same time. A recessed illuminated handrail forms a graphic line in the wall, while a hidden horizontal sliding door enables the owner to cut the upper floor off from the ground floor for security.

The lanai and brise soleil on the north side cantilevers 18 meters by 6 meters unsupported by columns, partially over the pool. The lanai consists of a seating area, dining area and bar cum barbeque, seamlessly connected with the living spaces and kitchen, while the brise soleil consists of suspended steel tubes, to create both privacy and sun control. The breakfast room is situated on the north-east corner of the kitchen, to bask in the morning and winter sun.

The main suite is also placed on the north-east corner of the first floor, divided by sliding smoked glass screens. The bathroom with free-standing spa bath gets the morning and winter sun, while the bedroom is exposed to the winter sun. Expansive his and her dressing rooms are situated behind the bedroom and bathroom.

On the opposite side of the building are two guest suites, both north facing with en-suite bathrooms and walk-in cupboards.

A geothermal system is used to heat and cool the home, and also to heat the pool and spa. Nine boreholes were sunk to a depth of 100 meter for this purpose, and a special room created in the basement to house the equipment. The photo voltaic panels on the roof have an output of 10KVA, while rain water is harvested and the whole house is double glazed, except for the frameless concertina doors.

Also in the basement is a home theatre with an adjoining light-well which allows winter sun to penetrate even this space through sliding doors into the atrium created at the bottom of the light-well. A window looks into the spa.

The kitchen and built-in cupboards were built by Dada and Porro respectively, and imported from Italy by M Square Lifestyle necessities, while the interior design was done by M Square Lifestyle design.

All the furniture was also supplied by M Square Lifestyle Necessities.

It is recorded that hurricanes twist around the eye of the storm, always in the same direction which is anticlockwise in the northern hemisphere and clockwise in the South.

To determine the design criteria the nature of the hurricane is considered.

Hurricanes consist of a ring of thunderstorms extending up to 15 km’s known as the eyewall. This is where the heaviest rain and strongest winds which can exceed 120 miles an hour rotate. The scheme uses the hurricane’s strength to slowly turn part of the structure along its helicoid retaining wall, burying itself as it turns by using wind direction to mobilize its hydraulic pivots.

For this house to withstand environmental loads like winds it must be flexible enough to move with the hurricane, yet provide enough resistance and weight, to dig itself into its own excavated engineered landscape.

The house has a main superstructure which holds the living accommodation, it can move along a helicoid retaining wall, excavating as it does so. The building’s core is a reinforced concrete anchor under which a grid of root-like cable foundations spread, pinned into the landscape this anchor supports the superstructure by using a series of hydraulic column lifts which pivot to turn the building, excavating its own substructure as the main living area moves, the immediate context provides different levels into which the building can rotate, burying itself into the already partly excavated landscape to protect itself from the hurricane. The architecture is choreographed by the wind direction of the hurricane, turning with it.

The excavated ground is pushed away whilst the artificial island surrounding the building acts as a canopy moving water away from the building.

Solar panels line the island’s floor plate panels and edged by a ring of turbines, the turntable like design consists of sixty-four separate timber sections that act as an irrigation field directing rain and floodwater away from the building, these contained sections are deeper closer to the building in order to help with efficient drainage, they act like a water screw.

The building’s main living space is constructed from a precast reinforced concrete frame, this lightweight structure has a series of rubber-coated, concertina wall sections, providing flexibility to adapt during the building’s movement and circulation needs.

The house is enclosed by an artificial island which is landscaped to flush flood water away from the main living area, its surrounding topsoil navigates rain and flood water to drain into the deeper soil and away from the structure, similar to a bioswale. The macrophyte plants create a constructed wetland, this ecological residence aids land reclamation and water purification reducing any floodwater pollutants resulting from the hurricane.

The wetland absorbs and temporarily stores floodwater releasing it slowly to avoid further damage to the surrounding area.

The force of the hurricane does not exert extreme pressure build up as it skims over and around the entire building, whilst the building’s movement reflects the force dissipating it as the scheme twists. The building’s dead load gives it resistance to turn slowly enough when exposed to sustained winds over 70 miles an hour without causing further damage to the structure, but fast enough to avoid the hurricane’s full force.

The origin and concept of this commission was for a spa in Kunming, China, on behalf of the Yunnan metallurgical group, the program and location have since changed due to the client’s interest in the research and support of renewable energy, ecological and environmental land preservation.

]]>https://www10.aeccafe.com/blogs/arch-showcase/2018/01/29/self-excavation-hurricane-house-in-louisiana-by-margot-krasojevic-architects/feed/0459307A place of rest in Game Reserve, South Africa by Architects Of Justicehttps://www10.aeccafe.com/blogs/arch-showcase/2018/01/14/a-place-of-rest-in-game-reserve-south-africa-by-architects-of-justice/
https://www10.aeccafe.com/blogs/arch-showcase/2018/01/14/a-place-of-rest-in-game-reserve-south-africa-by-architects-of-justice/#respondSun, 14 Jan 2018 14:14:49 +0000https://www10.aeccafe.com/blogs/arch-showcase/?p=457313Article source: Architects Of Justice

When a client approached Johannesburg-based Architects Of Justice and commissioned an avant-garde retreat he could disappear to, a journey began which would culminate in a recent Commendation for the project in the Mpumalanga Institute for Architecture (MPIA) Awards for Architecture 2017.

The site for the project, situated within the Mjejane Private Game Reserve – a private Big 5 game reserve incorporated into the Kruger National Park – opens onto a view of the Crocodile River on the north boundary with a green belt on its eastern edge. The retreat was designed to maximise the connection to nature and wild game while ensuring privacy between the five en-suite bedrooms as well as from neighbouring lodges. The rigorous estate guidelines motivated the architects to design around the existing flora on the site, which led to a freeform design that required only three trees to be replanted.

It was one of Architects Of Justice’s early projects, the SEED Library, a shipping container structure for the MC Weiler Primary School in Alexandra, Johannesburg, completed in 2010, which led to the practice being approached by the client for the Mjejane project. The library had caught the attention of the architectural fraternity, winning a number of awards, including an SAIA Award of Merit, the Afrisam SAIA Award for Sustainable Architecture and an international award for architects under the age of 35, the YAA (Young Architects in Africa) Competition. While visiting his daughter in Hong Kong, the client was paging through an architectural magazine featuring the library when his son-in-law commented that he went to university with the architects.

After meeting with Architects Of Justice, where he requested an unconventional and innovative retreat, project architect Kuba Granicki worked on a concept model for the client, who immediately approved it. “It was a meeting of minds,” says Granicki, explaining that the original model is satisfyingly close to how the completed project turned out.

The home, which is beautiful from every angle, is incredibly site and context driven, fitting the client’s requirements to be able to connect with nature. Nature, however did provide its own unique challenges; there could be no openings or entries into the roof void, as it would provide the ideal habitat for a myriad of animals to take up residence within this space, and measures had to be taken to prevent warthogs residing underneath the suspended wooden deck on the north of the site.

The crowning jewel of the house is a floating steel roof that overhangs the house on every side with a minimum overhang of 1,6m. At its maximum, the roof overhang extends in an impressive 13m butterfly cantilever creating a seemingly unsupported roof over a boma. The total roof area for the 450m² residence totalled at an impressive 900m² allowing inside spaces to blend effortlessly with the outside.

“Initially the roof was to be concrete and planted,” notes Granicki. “After the client eventually decided against the use of a green roof due to concerns of maintenance for what was to be primarily a low-maintenance holiday home, the concept was redeveloped with a steel roof that would be lighter and quicker to erect on site. With this construction methodology, we still managed to obtain cantilevers all round on the roof and an open span lounge/dining room of more than 100m2, with no columns to obscure the view over the pool and surrounding bushveld.”

The steel roof overhangs helped design a passively cooled home which mitigates heat gain by shading the exteriors throughout the day in an area of the country that often reaches 30 degrees Celsius in winter and well over 40 degrees Celsius in summer.

Off-site fabrication allowed for a very clean assembly process on site, and bolted connections meant that very little welding took place on site. The steel roof arrived in four parts, which was logistically possible as the manufacturer, Quality Steel, was located just over an hour away from the site. A four phase Lego-set type erection, also meant that there was no need to clear and disturb the natural bushveld for storage of building materials. Ingwe Construction was chosen to carry out the building work due to their proven track record of constructing large scale private bush lodges sensibly and sensitively in this part of South Africa.

In the interior, the idea was to not obstruct the user from the surrounding nature, and as such, huge glass windows, doors and fin walls constantly connect and direct the user to the outside bush. The placement of the windows facilitates a constant flood of light on the hand polished concrete floors and simple plaster walls, while angled ceilings facilitate natural airflows and complement other sustainable features of the project (such as rainwater harvesting from the extensive roof structure).

“As the client comes from a mining background, aesthetically the home reflects a ‘from the earth’ narrative, and an almost industrial approach of using crushed rock, gabion walls and steel I-beams was embraced,” explains Granicki. He notes that while the home is definitely a modern take on architecture, there is still an earthen quality to its finishes as a result of some of the techniques of the local contractor.

After a twelve month construction period, Architects Of Justice delivered a successful project, not only by understanding the environment and designing around it, but also by working closely with the client. The following comments from the client are testament to the work which they produce and their ultimate aim of client satisfaction: “Our dream of embracing the outside bushveld, inside our home, has exceeded our expectations. The architects’ design allows for large openings that let the remarkable landscape to be enjoyed from every part of the house. The ambitious overhangs and cantilevers, made possible by the steel roof, affords us the ability to live harmoniously with nature as the lines blur between inside and out. We are incredibly proud of our home which is a stunning piece of contemporary architecture.”

Receiving the recent Commendation from MPIA is another feather in the cap for this young practice who are currently busy working on a host of office, warehouse and high density residential projects. The MPIA judges’ comments on the project were extremely positive: “The design concept is brave, original and is befitting of the site and the brief. The judges loved the three dimensional ‘origami’ roof which floats as a sculptural object, seemingly emulating the typography of the surrounding landscape. The spatial qualities are sculpturally impressive and sensory experiences are manipulated through impressive angled ceiling spaces which guide the eye outward towards the surrounding landscape. The cantilevered covered patio roof is a structural feat. The massing and siting of the building is successful within the confines of its site, and achieves the key objectives masterfully.”experiences are manipulated through impressive angled ceiling spaces which guides the eye outward towards the surrounding landscape. The cantilevered covered patio roof is a structural feat. The massing and siting of the building is successful within the confines of its site, and achieves the key objectives masterfully.”

In this private lodge at Mjejane Private Game Reserve, the architects have created a structure which rests elegantly in the surroundings. It is a home which while being architecturally innovative, doesn’t distract from the location of the project and draws the user’s attention to the outside. Granicki concludes; “We are very grateful to have had the opportunity to work on such a unique project in such a stunning location.”

The three partners in Architects Of Justice, Mike Rassmann, Kuba Granicki and Alessio Lacovig, formally established their practice in 2009 after working in various other architectural practices. “Our main reason for starting our own business, was that we wanted to do architecture in a way that all the projects we touched would be unique and exciting,” explains Rassmann. The three partners share the same goal of wanting to make a positive effect on the built environment by doing justice to their clients, their sites and architecture in all of their projects.

The upcoming Kuwaiti museum complex, the Sheikh Abdullah Al Salem Cultural Centre (ASCC), has been named Public Building of the Year at the prestigious ABB LEAF Awards 2017.

The annual LEAF (Leading European Architecture Forum) Awards bring together more than 100 leading senior figures from the world’s elite architectural design community to celebrate, discuss and honour some of the best new international projects. All shortlisted and winning projects are recognised as setting the benchmark for the future of the industry.

A joint delegation from the Amiri Diwan of Kuwait and SSH collected the international accolade for the complex at a gala ceremony, hosted at the Royal Horseguards Hotel, in London, on 21 September.

Due to be completed by the end of this year, the centre not only celebrates mankind’s scientific and cultural achievements, but also honours Kuwaiti, Islamic and Arab culture and history. Together, with the award-winning Sheikh Jaber Al Ahmad Cultural Centre (JACC) and the nearly restored and refurbished Al Salam Palace, the museum complex will form part of a new national cultural district for the city of Kuwait.

The project will consist of six main buildings: A Natural History Museum; Science Museum; Museum of Islamic History; Space Museum; Fine Arts Centre; and a Theatre.

Each museum building will contain an array of permanent and temporary world-class exhibits, installations and artworks. Walking beneath the canopy of the complex’s street is a journey full of surprises, with stunning views deep into the heart of the museums where visitors will see framed vistas of priceless exhibits.

Kuwaiti architecture is represented by the main “street”, which meanders and echoes the traditional “Ferej”. This creates exciting spaces, Islamic patterns, corners and walkways, mirroring the experience of walking down a traditional, busy Kuwaiti street.

The museum buildings and the circulation between them are shaded and partially climatically controlled using a solar shade canopy, which is 200 m long with cantilevers of 30 m. The inverted structure allowed the installation of 2,000 LED-lit shingles, which were parametrically designed and DMX controller-linked to provide evening light shows and daytime shade.

The material chosen by SSH for the exterior cladding and roof paving of the complex was also carefully selected. The approved stone, named Skyline, is a true marble from Turkey with a clearly defined vein orientation in the quarry strata. Skyline has all the technical and aesthetic characteristics to meet the stringent requirements of the project.

SSH was appointed as lead architecture and engineering designer on the complex.

SSH is one of the leading master planning, infrastructure, building design, and construction supervision firms in the Middle East, with a reputation for design integrity and a portfolio that includes landmark projects throughout the region. The firm maintains offices in Abu Dhabi, Algeria, Bahrain, Dubai, Iraq, Kuwait, London, Oman, Qatar, Saudi Arabia and South Africa.

A new park designed by Balmori Associates at São Paulo Corporate Towers celebrates the Mata Atlântica forest’s biodiversity and spatial richness in the dense urban fabric of São Paulo.

Located in the affluent neighborhood of Vila Olímpia, the park and mixed-use towers designed by Balmori Associates, Pelli Clarke Pelli Architects and Atelier 10 on a 3.84 hectare site (9.48 acre) opened summer of 2017. Back in 2009, the team had won an invited international competition. The program called for two 30-story commercial towers with offices, convention center, café and restaurant, and an extensive landscape. Balmori Associates’ landscape strategy is to display the treasures of the Mata Atlântica and its rich ecological benefits; create a continuous ecosystem while integrating landscape and architecture.

Historically, the entire coast of Brazil was occupied by the Mata Atlântica, also known as the Atlantic Forest. It was one of the healthiest ecosystems in the world, accounting for 8% of the earth plants; and has some of the most famous ornamental plants in the world including Bird of Paradise (Caesalpinia), Lobster-Claw (Heliconia) and Imperial Bromeliad (Alcantarea imperialis.) Today, over half of the population of Brazil and most of the country’s agricultural and forestry production stands over the original biome extent. Consequently, less than 7% of this Brazilian ecosystem remains undisturbed. In the city of São Paulo, the Mata Atlântica forest exists in isolated patches. The fragmented ecosystem has less resilience to warmer temperatures and a negative effect on wildlife habitat.

The concept for the 19,000 square-meter-park (204,500 square feet) was driven by the preservation and restoration of the Mata Atlântica Forest found on the site. “The main characteristic of the project is the size and variety of the vegetation,” said the late Diana Balmori, founder of Balmori Associates. “Bringing back some the intensity of the Mata Atlântica to the site helps to clean the air, keep it cooler, and create an environment for people that is pleasant and enjoyable.”

The Mata Atlântica forest can have up to 12 layers of different canopies, and reach 45 meters high (147 feet.) The site already had some beautiful mature vegetation planted decades ago. Balmori Associates worked closely with the architects and the owner to preserve the existing trees. In areas that needed to be excavated for the buildings and the five- story below- grade parking garage, trees were transplanted to the perimeter of the property. Over a hundred new Mata Atlântica trees were planted along the 171 fully mature ones existing on the site. Balmori Associates proposed the local Ipê (Handroanthus spp.) as signature tree for the project, creating a display of a dozen different species at the main entrance plaza. The vibrant tree Quaresmeira in Portuguese or Purple Glory (Tibouchina granulosa) was also included as a representative of this ecosystem and region.

Native under-canopy plants were identified to form the lower layers of the forest. However, local nurseries proposed only few native species and instead favor plants from South Africa, Australia, Miami, India, and other tropical regions of the world. As a result, Balmori Associates reframed the planting palette to only a few dozen species of Mata Atlântica Forest natives. Additional key plants were proposed for the future with the hope that they will become commercially available.

Located on Avenue Presidente Juscelino Kubitscheck, the park at São Paulo Corporate Towers is at the intersection of major arteries and the nearby Avenue Brigadeiro Faria Lima, Parque do Povo, and Pinheiros River. To blur the site boundaries and integrate the park to the city an undulating fence curved in plan and in elevation weaves through the landscape.

In a car-centric city, a 1km (0.6 miles) pedestrian loop unifies the whole site connecting the sidewalk, forest, building plazas, restaurant terrace, topographic gardens and roof garden café. Sections of the loop are an elevated perforated metal path that transformed the narrow sidewalk into a unique experience of walking in the canopies of the trees. Other sections are highlighted by contrasting Brazilian granites: Red Dragon in a pixelated field of Rosa Beatriz and Preto pavers.

Balmori Associates found multiple opportunities to integrate landscape and architecture. The continuous green surface follows the spatial rhythm, heights and patterns of the forest as it weaves across the site around and through the two towers that make up the architectural program. The ground plane lifts up in a series of engineered vegetated terraces to form the amenity building. The garden of planted islands curates visual connections between the towers’ lobby and forest.

A vital part of the integration between landscape and architecture was the water management strategy developed with Atelier 10 and Pelli Clarke Pelli. Native vegetation, including bromeliads (Bromeliaceae ) and epiphytes, was used for its lower water demand. To reduce water runoff, permeable areas were increased by using a perforated metal grate for the elevated path. Native soils were selected for their water retention. Rainwater is collected and reused to cool the towers and irrigate the lush landscape throughout the site. The fountains – whose water is recycled and reused in the lavatory – contribute with the dense vegetation to a cool microclimate. Back in Sao Paulo a few months after construction ended, Javier González-Campaña, partner at Balmori Associates, commented, “It’s impressive how fast the plants are growing. Visitors enjoy the outdoor spaces to work or have lunch in the shade of the trees by the music of the fountains.”

São Paulo Corporate Towers is the first project in Brazil to receive LEED® Platinum 3.0 certification. It meets the highest sustainability requirements according to the United States Green Building Council, including the development of water management strategies and the creation of comfortable outdoor environments.

About Balmori Associates

Balmori Associates is an international urban and landscape design firm. Founded by Diana Balmori in 1990, the office is now led by partners Noémie Lafaurie-Debany and Javier González-Campaña, and supported by a multi-disciplinary, multilingual team. The practice is recognized worldwide for its creative interfacing of landscape and architecture. Through research, collaboration and innovation Balmori Associates explore and expand the boundaries between nature and structure.

Located in the leafy suburb of Higgovale, set below the iconic Table Mountain, House Invermark overlooks the city and harbour of Cape Town. Forty seven years after receiving a medal for excellence, House Invermark has been awarded a prestigious Commendation from the Cape Institute for Architecture (CIfA), in recognition of noteworthy contributions to architecture.

Designed originally for himself by respected South African architect Gilbert Colyn in 1969, it was inspired by two iconic modernist houses, namely that of Phillip Johnson’s 1949 Glass House and Mies van der Rohe’s 1951 Farnsworth House. The house was purchased by architect Stefan Antoni, director at SAOTA, in 2013. By this stage it had reached a poor state of disrepair and featured numerous inappropriate alterations and additions totally out of character with the language of the building. Had it not been for Antoni’s intervention, it might have faced demolition as its heritage status as being a fine example of contemporary architecture was not recognised.

SAOTA’s careful and sensitive alterations and additions have returned the threatened building back to its original state, enhanced its overall composition and significantly refined the living experience to bring it up to date with contemporary living. In the living area, kitchen, main bedroom and bathrooms, structure and screens were removed to facilitate improved flows associated with contemporary living.

Changes were also effected to the exterior spatial configuration involving the relocation of the swimming pool from the darker mountain side to the sunny street sea view side, providing much needed privacy from the street. This freed the courtyard to become a family garden planted with lawn and a row of Elderflower (Sambucus Nigra) trees running along a new linear water feature. The street interface was also substantially redesigned. These changes have served to significantly augment the experience of the house relative to the landscape. It is noteworthy that when Colyn viewed the house after its completion, he was suitably impressed.

The IJhal is a recently completed pedestrian passageway situated within Amsterdam’s central train station, on its the northern, waterside–which abuts the river it’s named for, the IJ. The central station has been under continuous construction, for approximately the last decade, as the city spearheaded a total transformation of the original nineteenth century building, by expanding it below, above, and at its rear, in order to accommodate the city’s growing population, and increasing number of tourists. A major portion of the station’s renovation and expansion is related to the soon to-be opened ‘North-South’ metro line–which is set to run along that axis of the city, and for the first time, enable one of the city’s metro lines to cross under the river IJ, at the back of the city’s train station. Amsterdam’s central train station is thus a confluence point for its many taxis, metro lines, trams, trains, and infinite cyclists, in addition to being a loading point for the IJ’s ferry-boat traffic; it is a major node of pedestrian and public transportation movement in Amsterdam.

Outfit with enormous LED screens, which continually transition their displays between voyeuristic, calming scenes of the city–and alternatively, advertising–and set with a golden-yellow-tan hued terrazzo floor; the multifaceted interior passage is meant to encourage constant pedestrian movement, simultaneously remaining durable under the foot traffic of tens of thousands of travelers each day. A system of modular, rounded mirrored elements adorns the IJhal’s ceiling, arranged in a playful grid that introduces a sense of movement to the ever-shifting reflections from below, communicating in tandem with the mirrors that wrap the passage’s load bearing poles, which dot the IJhal’s main axis. All of these mirrored elements cast the radiating, ever-undulating fluctuations of the IJ’s surface reflections in the IJhal so they refract into the adjacent passageways, in a nod to Amsterdam’s, historic, deeply intertwined relationship to water.

Shops align the IJhal’s southern edge, while strung along its northern is a series of restaurants; the latter’s situation within the project, along its water side, enables views toward the water of the IJ while dining, and the observation of a constant stream of cyclists passing by, on the new bike ‘highway’ that runs parallel to the river IJ. Staircases within rectangular voids connect the IJhal to the regional bus terminal above, with waves of winter-hearty, undulating ivy gardens, whose growth spills over and into the voids from above–introducing a gentle, natural element, within this highly chiseled, and otherwise extremely durable area, which must daily accommodate tens of thousands of travelers. Escalators below every bus staircase will eventually lead to the train station’s metro stop, and platforms for the North-South line, which runs under the station, perpendicular to the IJ; this metro will eventually the city’s visitors and residents to bypass its tram system and instead use this metro, if venturing south of the station toward the city.

Terrazzo, in addition to its use on the IJhal’s floor, was also chosen for the custom way-finding signage holders, and the many photo-booths that align the IJhal’s main pedestrian axis, enabling a visually cohesive language to emerge. Simultaneously, the signage of each shop and restaurant has been integrated into the walls of glass that front all such ‘interior’ spaces in the IJhal, with each lit from behind, further brining unity to this otherwise frantically busy location within the station. A series of secondary passageways perpendicular to the IJhal impart direct visual connections to the waterfront, throughout the entire station. Notions of transparency and reflection within the IJhal, seek to reestablish Amsterdam’s connection to its northern neighborhoods, which were severed from the city’s center, upon the train station’s completion, in 1889.

Wiel Arets Architects (WAA) is a globally active architecture and design firm, whose work extends to education and publishing, with studios located in the Netherlands, Germany, and Switzerland. Comprised of an international team of architects, designers, thinkers, and administrators, the firm is currently involved in large number of projects throughout Europe, North America, Asia, and Africa. Its architecture and design emerges from research and a balance of hybrid-programming solutions, which adapt to and anticipate future contextual change.

The architecture of 6 Leadwood Loop was designed in accordance with Feng Shui principles. The square geometry of the floor plan is aligned with the cardinal axis. The shape, position and orientation of all the spaces and bodies of water were guided by Feng Shui protocols.

Characteristics like elemental roof forms with large eaves, overhanging upper storey, play of light and shade, screening, flow of spaces including an uninterupted indoor / outdoor flow and lush landscaping are all hallmarks of Tropical Modern architecture.

The house is a layered composition of individually expressed horizontal elements. The offshutter concrete and glass ground floor level is articulated from the timber clad first floor level by means of the cantilevered first floor plate, and the angled cantilevered ground floor terrace projects out over the timber and stone lower floor level. Subdivisions in the timber doors and windows reinforce the horizontal lines of the architecture. The building culminates in the bold form of the pyramid roof with a two metre overhang, splayed timber eaves brackets and T&G eaves closer.

The site offers exceptional panaramic sea views from the north east through to the south east. The rim flow swimming pool with a natural stone waterfall feature and sundeck have been placed on the north side of the house, enjoying warm sunlight throughout the day, but at the same time being significantly shielded from the prevailing winds coming off the ocean. An al fresco sitting area and shallow reflective pond adorn the east facing terrace, providing a tranquil area to linger and enjoy the natural splendour of the Indian Ocean.

The double volume space positioned centrally at the heart of the home acts as a hub that the other spaces radiate out from.

The large open plan main bedroom suite integrates a luxurious lounge and an open plan ensuite bathroom and dressing area into one seamless space. Expansive sliding doors and windows along the east and south edges of this space open up to take full advantage of the sea views.

Our part was to create a luxurious, sophisticated interior with a touch of glamour, but serving the needs of a growing family. We looked at addressing the needs of all the individuals to deliver a pleasing, functioning home with a sense of timelessness, including elements that followed trends, but were not trendy. Some ‘tongue and cheek’ touches were also included.

We used restraint as the brief was ‘less is more’ but delivered a home that is not underwhelming in any way and very pleasing to the architects and the home owners.

With the LOOKS brand having multiple presence through the city, and Group DCA being associated with it for the design of its many outlets, this particular outlet was taken up with its own set of unique challenges and planned with a distinct concept. Inheriting a larger space, within the corporate setting of suburban-NCR in the buzzing Cyber hub at the Cyber city, Gurugram, this salon aims to cater to the upwardly, mobile aspirations of the young, dynamic, cosmopolitan clientele of the vicinity as well as discerning private and corporate clients. The client brief called for the creation of different spaces for varied activities to create an overall continuous and homogenous space.

Crafting a sense of journey for the customer, one enters into the waiting area that has a lounge with plush seating and is planned as a separate zone altogether. The journey continues into the Kerastese area that is crafted with a view of the outside environment and brings the outdoor environment in. To provide an ease of functionality, separate zones for each service have been created. The backwash area and pedicure services have been enabled as separate zones as well. With the growing trend of coloring one’s hair, the coloring consultation has been catered to as a separate zone as well so that the customer need not be disturbed or made to move from one area to the other. In order to offer exclusive hospitality to its customers, LOOKS has planned for a cafe inside the salon, incorporated beside the pedicure area, and is separated by screen.

Incorporating various sections and providing separate zones takes proper planning into consideration. Thus, various types of partitions and screens have been designed to provide individual, defined spaces for all services. All the mirrors in the cutting stations, storages and retail displays have been incorporated as floating panels in metal frames which work as screens that define various spaces. Multi-functional, full height wooden partitions and screens have been used that work as suspensions, display counters along with storage cabinets. Numerous pockets are created within these wooden partitions that serve as retail units. One section/side of the screen is also used as a mirror to facilitate privacy, yet keep alive the charm and largeness of an open and dynamic space.

The defining elements in the salon are flooring and ceiling grid that facilitate circulation as well as highlight different pockets. The cement flooring with Heritage tiles inlaid between metal frames is one of the most interesting elements. They serve as carpets and tie the whole space together, which helps define the various zones and nodal points in the salon. The suspended lights and exposed services along with open ceiling add a subtle rawness to the space. Another divergent element is the incorporation of a video wall which roll out various collections done by the brand. It also acts as a photo shoot backdrop for the client post services.

Overall, the salon has a loungish feel that provides a relaxed, earthy semblance and experience.

DCA Architects is an award-winning, nationally and internationally acclaimed, multi-disciplinary design firm, based out of New Delhi, India. Founded in 1996, over the last two decades, the firm has accomplished architecture and design projects across diverse scales and typologies. Today, the firm has to its credit, remarkable, award-winning, widely acclaimed projects such as:

Each project is treated individually with an approach that is most appropriate to the project’s identity, concept, business format, target clientele, code of ethics, context, site location etc. Rather than following current trends, or designing for the short term, we believe in sustainable design which is exclusive, well – balanced, contextual and appropriate. A conscious effort is made to use local, made in India, sustainable materials/ technology, that reinforce traditional crafts and skillsets of the craftsmen, while minimizing the impact on the environment as much as possible. Each project is therefore not a cookie-cutter solution, but is instead climate-appropriate and designed to meet specific needs and contextual conditions that create an exclusive, yet relevant product. Through its contribution in the realm of Architecture and Interior Design, DCA Architects has made a mark across the South Asia, Africa and the Middle East.

Spearheading group DCA are architects Amit Aurora and Rahul Bansal, who graduated in 1993 from the esteemed School of Planning and Architecture (SPA), New Delhi. Both the partners, through their individual expertise have contributed towards the firm’s robust image in the design industry, with a special focus on delivering design excellence and innovation. With their dedication towards contextual and sustainable designs, inspiring young talent and nurturing human relations, today, they lead an energized and enthusiastic team of over 40 professionals.

“The brief was to create a home with all the spectacle of an Atlantic Seaboard showpiece but also to respond to the practical needs and complexities of family life. The thinking was towards massive open-plan and double-volume spaces and tasked zoning,” says Stefan Antoni, director and Partner at SAOTA

Working with a relatively tight site, required lateral thinking, thereby creating a dynamic play on levels. Built over four floors, the areas, although open-plan, have definitive identities. A simple redwood and grey-shale façade, that opens on to a sculptural courtyard and leads into an entrance gallery, serves as a taste of the impact ahead. Sculpture, dramatic volume, far-reaching views and raw textures – rock, timber, concrete – are the cornerstones of the look of this house, designed to maximise the setting and develop a patina over time.

The mood and role of each zone shifts as one moves through the different spaces; from cocooning and comfortable in the family room wing with its solid and secure hunkered down L-shape focusing on functional living spaces, to all-out contemporary cathedral-like in the double volume living area with its rippling concrete feature wall and commanding views. This ocean fronting section is a soaring space anchored by concrete and rock – a five-tonne bar of rough-hewn granite that had to be craned in holds down one side of the living space.

Descending two levels below this to the bedroom floor (one down) and guest and ‘playroom’ floor below that, the spaces have a feeling of connectivity – cut-out shapes and open atrium spaces linking it all back.

Although sea-oriented, with the pool terrace to the west, it also leads off to the courtyard garden on the east, access to both by the way of sliding glass doors, which open it up so completely that it’s little more than a roof. The way the living level is configured means that the children are visible at all times, whether they’re playing outside, watching TV or swimming in the pool; a brilliant combination of challenging architecture and family practicality. Bedrooms, too, were configured with children in mind, and all three inter-lead through sliding doors closest to the matching window seats in each, massive frames in which to sit and appreciate the picture-book sea views. The pool terrace with two pavilions, offers a lounging area on one end, and a braai-and-dining area on the other.

The interiors create an emotional and sensorial journey when moving through the house. Art plays a pivotal role here, with select pieces forming the initial impression – the first piece once inside the door a massive dugout canoe, the couple has always wanted a dedicated gallery, and aims to fill out the space over time with special pieces. This dream space was pivotal in developing the feel of the house as a whole, with its large expanses of wall, new spaces, and a simple approach to adornment. Furnishing are minimal, to allow the layering of finishes to really shine. #“We consciously emphasized the different roles of each zone, shifting the mood from room to room. We wanted the space to surprise,” explains Stefan.

By utilising a broad base of textures and finishes, the décor feels natural and subtly organic, comfort being of paramount importance at all times; the overall ambiance is one of calm and serenity. Colour is kept to a bare minimum; the interior works predominantly with a light and shade tonal range, allowing the exterior views, the mountain, the ocean and sky and also the artwork to bring in colour.